Amekaze Hanako-syokudo track'S

cool instrumentals

Spring 2025

SUSIE WAS A PROPELLER FOR FRAGILE SUPERSTARS

Again Mix 2

The Fabulous Crew Of The 7 Seas of Sounds - 
I'm A Fool To Want You // 111 First Beeps 
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What an amazing journey these last two months have been—one that would not have been possible without your support. Love you all! You know who you are, whether you appear in this first playlist celebrating you or not (yet).
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** / **  The Fabulous Crew Of The Seven Seas of Sounds   ** / ** 
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An odyssey through waves of rhythm, melody, and soul — celebrating the fearless voyagers of SoundCloud who hold space for the unheard, the bold, and the brilliant.
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Join the Captain and Enigma as they navigate the seven seas of sonic wonder, gathering the finest creators, remixers, and dreamers. This playlist is a tribute to the fabulous crew — the artists, producers, and fans — who keep the music alive, vibrant, and ever-expanding. From deep bass currents to soaring vocal tides, every track is a beacon lighting the way for those sailing the vast SoundCloud ocean.
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The Fabulous Crew Of The Seven Seas of Sounds - I'm A Fool To Want You // 111 First Beeps

kaginski

I suffered from beat phobia in the previous work, but this time I used both rhythm and bass. While listening to the chords side by side, two vocal chips are accidentally entwined and completed. A lonely man and woman talking secretly without any reservations. It's like that. Actually, this is the first time I've felt something in "self-composed".

Chill & Hip & Adult Music (Op. 151) 2021 - 10 - 05 0137

Autumn in Japan is about 50 days, and no day has the same temperature. The wind you feel on your skin changes every day. And it's time to harvest a lot of food.
The Jomon people who lived at the foot of Mt. Yatsugatake in Nagano Prefecture from about 6000 years ago to 4000 years ago (early to mid Jomon period) made "Dogu" and buried them in the soil instead of decorating and worshiping them. Maybe I wanted to deepen the connection between the soil and ourselves. It is explained that the two clay figurines have a pregnant woman as a motif and that an elderly woman is a model. She was named "Jomon Venus" on the right and "Masked Goddess" on the left. It was excavated in Chino City, Nagano Prefecture. (The photo is a tourist poster of the city)

Autumn in Japan, the line of sight of clay figurines (work 147-B) 2021 - 10 - 11 1759

6 bars of a cappella followed by 2 bars of saxophone solo. This is the only work that was completed and later stretched back and forth with drums, bass, synths, and so on. I think that there is nothing that appeals to the finished work just by struggling to complete it if I make it like this. I think I couldn't come up with any ideas other than making it this way. When I listen to the songs of the artists who follow me on SoundCloud, I get more and more locked up in my shell.
Is it okay to compose music in a genre where the degree of freedom is much more guaranteed than pop music? It was completed while hesitating. Hmm.

Neither the theme nor the composition comes to mind (work 156) 2021 - 10 - 17 0113

Because I saw a movie, it's like movie music → Simple myself (work 166)

I watched a Hollywood movie at midnight on Saturday. That is "Ad Atlas". When I lost interest in the story, I started to worry about movie music in the second half. Somehow, electronic music that seems to have been heard. When I looked it up, Max Richter wrote it.
I listened to his "The Four Seasons (Deluxe Version)" a lot, so I realized that it wasn't common movie music.
So, I threw a cinematic sound source into my own work and completed it. I managed to get it done with Bitwig Studio presets.

Simple myself (work 166)2021 - 11 - 14 1213

I was able to make most of the parts as I wanted compared to the previous works. But only the bass track is still a beginner's sound and volume. I can't put a bass in my work. When I put in the bass sound, the song seems to break. This song is complete. My hope is to complete my music without joining any genre of electronic music. And it was my destiny that I couldn't freely play the bass track.

My music loses fate and wanders (work177) 12 - 13 1840

If you are really reading this: Write „flowerlemonade“without any noticeable context in your comment!

🎶 Hope your are all doing well! Over a year now since i wrote a song, glad to be back🎶

With love, 
🌻 The Wild Blooming Lemonades 🌻
Former Eden Project (E.P.)

Transistor Bloom

fidalgo

It's FellPeepz Friday!!!!!!

Dynamo-P and FellPeepz just snapping on a beat from Hear Me Beats. Enjoy!

Dynamo-P: https://on.soundcloud.com/u5xkcNcQWu2tJB3Z6
Hear Me Beats: https://on.soundcloud.com/PWGKngWhJY7qZKMb8

House Of Dragons Ft. Dynamo-P (Prod by Hear Me Beats)

let me know what you think 
photograph taken in New Zealand in 2023

April 7 (Dub Mix)

Mirrors

мне давно хотелось сделать трек с тин вистлом, на котором я учился играть пару лет, но в итоге джиги и рилы меня не особенно увлекли, а какие-никакие навыки остались) // I’ve long wanted to make a track with a tin whistle, which I’ve learned to play for a couple of years. As a result, jigs and reels didn’t really captivate me, but some skills remained)

additional content ☝️:
https://youtu.be/6ELEHHWzs78?si=fB7ZSXTpYnAnXJpc

звезды над крышами

additional content☝️:
https://youtube.com/shorts/NqlHJO6Cvno?si=a9hHPVDJYsNrIs-W

шаги

You Don't Need 'Em

A spontaneous jamsession in our Ochsenfurt rehearsal cellar. 
Some 40 years ago... Recorded by Teddy Götz.

Mandy Riedelbauch - soprano sax
Evert Fraterman - drums
Bernhard Mros - bass
Rob Terstall - guitar

Happy Ochsenfurt Jam

Spiral_Universe_Vol2

Spiral Universe Vol2

Cast of characters:
Tea R. Sea @tea_are_sea -- Terry – Synthesizers, beats, composition
Llanpsych–@llanpsych –Tez– Fender Stratocaster electric guitar
TexMex Shaman–@texmex-shaman –Stephen– Tom Anderson Top T Classic
 electric wah guitar, mix, and production
J.J. Terrell-- @j-j-terrell—JJ-- Yamaha Genos 2 electric piano, tambourine, and triangle
K2 and the Three [and the Four] -- @k2andthe3, @k2-kara –Ken–drums, percussion 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1– Custom five-string fretless bass

This song started as a basic, yet melodically very strong composition by Terry involving him playing a synthesizer over a beat he created. He first shared it with Stephen, as they are regular collaborators in their project, Texas Tea, which are worth checking out on both of their pages, as well. Stephen then turned it over the the Eclectic Collective to work our magic on it.
  Josh was first up to the plate with this one, adding his deep, five string fretless bass to Terry's rudimentary beat. Ken was next up, however, adding the driving drum beat you hear, for which he used Terry's beat as a template and augmented a full kit sound to it. Stephen followed Ken, adding his striking wah guitar part to the whole thing. Tez was up soon after with his searing guitar soloing towards the end. Last, but certainly not least, JJ added the soulful electric piano you hear giving it a funk throughout, as well as the tambourine and the cool triange dings. 
  Now that it was in the bag, we decided to ask Stephen to produce and mix it for us, which he did in his typical expert fashion, as well as the doing the mastering, too.
  This is our holiday offering to all our fans, friends, colleagues, and peers. While it's not particularly a holiday song, it's a good display of where we are musically, and shows some of the flavor we want to add in the new year. We hope you enjoy listening to this as much as we enjoyed creating it. Happy holidays to you, and many happy returns!

Tree Tops-Eclectic Collective

"The Ninth Life" by MH Army is a relentless Drum and Bass / Electronic Lucky Punk anthem, blending driving basslines, sharp percussion, and eerie synth textures for a dark, adrenaline-fueled vibe

The Ninth Life

Cover picture: Albert Bierstadt, "Emigrants Crossing the Plains" (1869): an oil on canvas painting of emigrants on their way to Oregon, inspired by a fifty-wagon train of German emigrants who crossed Bierstadt's path during his 1863 expedition.

Although it is very difficult to estimate the total number of European emigrants, it is thought that from the beginning of the 19th century to the middle of the 20th century, around 30 million people left Europe for the United States.

I reworked in the last days on this not particularly original piece, whose first draft is from 2018.
Femal vocals courtesy by La Boutique Studios Dakar; harmonica by Dust Bowl - Vintage Country.
Composed by Michele Ansani (2018-2025).
Posted on SoundCloud: 2025, March 26

Their American dream *

[ Albums ]
https://negativeheadphone.bandcamp.com

[ Youtube ]
https://www.youtube.com/c/negativeheadphone

[ Spotify ]
https://open.spotify.com/artist/6yptVqiGbvP3HpQNz2XTyQ

[ Facebook Page ]
https://www.facebook.com/negativeheadphone

[ Twitter ]
https://twitter.com/NegaPhone

Youtube

Invader

Inspired by how small birds endure the harshest winter

A Robin Waiting For April

Cast of characters:
TexMex Shaman– @texmex-shaman –Stephen– Taylor T5z acoustic guitar, Tom Anderson Custom T electric guitar, Gibson Earle Scruggs banjo, Eastwood MandoCaster mix, mastering, production, and composition
J.J. Terrell-- @j-j-terrell—JJ-- organ
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken–drums 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – Fender Precision four string bass, played with a plectrum 
Mistermark-- @user-432503709 -- Mark – harmonica, jaw harp, timpany, hambone percussion, and production editing     
This song began with Stephen, who recorded it on his acoustic guitar and bass to a programmed drum track a few months ago. We were all thrilled to work on it, even though it sat in BandLab as a project for almost a month before Stephen separated the tracks, thus allowing us to trickle in our parts. JJ was first to jump on it, because he could before the tracks were separated, as his part is completely his idea. He added the organ that really set up the entire sound of both dominant sections of the song. 
  Ken was first up to the project once the tracks were replaceable, making the wild, driving beat his own. Inspired by both JPJ and Michael Ivins, Josh laid down his bass line, trying to match Ken's energy. Last, but not least, Mark jumped in with the rumbling timpani. He also added the flavorful harmonica, and unique jaw harp you hear throughout, as well. 
  At that point, Stephen also got the idea to add the hambone percussion at the very end of the song, which we all consider a treat, and after showing us how it's done, Mark volunteered his percussion skills to give it a go. Stephen wasn't done with it, though, and still had some magic to sprinkle. He went in and added the howling electric guitar you hear prominently in the second main section. Also, he added the tempting intro with his acoustic guitar and electric mandolin that looks like a Telecaster guitar. 
  Once it was in the bag, we thought it appropriate for our master mixer Stephen to put it to bed, which he did in his always expert manner. Mark did help with the production, though, as he's very good with editing and spotting mistakes that need to be corrected.
  This is a gift from Stephen to all of us, and you, too. It took a lot of teamwork to make the dream work, as always for Eclectic Collective. We hope you enjoy listening to this as much as we enjoyed creating it.

Country Ham (Eclectic Collective)

Mental Health Day$

CAN’T YOU SEE
Vocals: Melissa (Ghosthack) Can’t you see
Brandon (Ghosthack) I don’t wanna go
https://www.ghosthack.de
Lillithe: Arrangement and Production
Paploviante: Remastering


Can't you see

77_ LUV TEST (Martin Kohlstedt Tribute) - released on 30 March 2025 only on Soundcloud

Inspired by one of his most famous pieces LUV, I "improvised" this track! His concerts are unique. I had the pleasure of attending one at the Admiralspalast Berlin on 29/03/25. His music, experimental modern classic, is bursting with atmosphere. Just my thing. So, here's a little tribute of my own to a great musician & climate activist! #modernclassic #ambient #nodrums #liverecording

(produced wit BlocsWave & Launchpad)

LUV TEST (Martin Kohlstedt Tribute)

Caligo Paean is a 1 hour long sound piece installed on river front property in the town of Franklin, Tasmania as part of the exhibition "When The Fog Clears". It formed part of the Ten Days on The Island Festival March 2025. The intro features the Nocefresca Choir - an impromptu group formed of artist residents I met in Sardinia in 2024. The group (none of us singers) were asked to vocalise in an ancient roman antechamber on a field trip by Sardinian Composer Gaia Aloisi. I recorded it on my zoom for hopeful future use - and here it is making up the intro to this 'song of praise' to the goddess of fog, mystery and chaos. 
The work was installed in several locations across the property including a stack of subs under an old bus, in the main exhibition space and in an abandoned shed some 40 metres from the main area (pictured). The speakers were tuned quite differently depending on their location and the sound was not delay corrected with the result of each mini-installation merging with each other in odd sonic ways  - kind of calling the listener from one spot to another. The the work features field recordings, percussion, piano, bass guitar and Intonarumori as well as this special one off choir : ) 
Big thanks to everyone involved!!
Official press release below. 
Every day, the mists of the Huon Valley perform a seductive dance, gently obscuring and revealing contours of the fertile land and waters. Situated in The Watershed Franklin, When The Fog Clears features six artists from lutruwita / Tasmania exploring the region’s iconic mists through a variety of mediums including installation, sculpture, illustration, sound, and video. 

Developed exclusively for Franklin, this exhibit extends from the waterfront itself into the chambers, kilns, and rafters of the shed, inviting visitors to consider fog as an atmosphere that can cloak us in unexpected ways.

Featuring:
Amber Koroluk-Stephenson
Nadège Phillipe Janon
Joshua Santospirito
Rosie Hastie
Mat Ward
Ursula Woods

When The Fog Clears is curated by Loren Kronemyer and Produced by Constance ARI

This project is supported by Arts Tasmania and presented in partnership with Ten Days on the Island.

Caligo Paean (Intro)

Check out "The DustBurn" by MH Army! This track packs a heavy DnB punch with a twist of vintage electronic flair. Booming basses, raw synths, and the scorching desert sun, it’s a wild ride that’ll get you hooked and moving in no time. Turn it up!  🎶🔥

The DustBurn

banalita´

Fragile Babies - LuGhz  Prod.Chameleon

Propeller

I've read your comments, but I'm late in replying to you. I'm sorry. I was stuck with a lot of worries while making this song. I tried to make this song into club music, but after struggling, my ego made it no longer rhythmic music. However, it's a joy for us to have our ego in the song. We've finished our new song, so we'd like to reply to your comments. The sound of the song clearly shows that we've been exposed to your music.

No. 233 Club Music Experimental Version - With thanks for your comment to me

https://soundcloud.com/plex-auchta - bass guitar and drums
lil' spaceman - beatbox and vocals

susie's got an uzi (ft. Plex Auchta)

Spotify

disorientation

Burning

My 2nd beat for the LoopDiggers Sunday Roulette #210!

raindrops (LDSR #210/2)

Little to say about this song; both lyrics and music (all organic but for programmed drums) were done very impulsively, so it may show my primal inspiration without reworks or additions. Hope you'll enjoy it!

Pic from: https://vincentmars.com/2013/11/20/the-sensual-paintings-of-fabian-perez/

Translated Lyrics:

YO PENSÉ (LA SEXTA VEZ) / I THOUGHT (THE SIXTH TIME)

Yo pensé: esa mujer no es peligrosa…
  (I thought: that woman is not dangerous …)
No esperé enamorarme como un idiota.
  (I did not expect to fall in love like an idiot.)
Me pregunté: ¿qué tiene en los ojos que tanto me tienta?
  (I wondered: what’s in her eyes which tempts me so much?)
y me acerqué para hablar con ella y verlos de cerca.
  (And I got closer to speak with her and watch them closely.)

Y si era la primera vez, ¿por qué no extrañaba hacerlo con ella?
  (And if it was the first time, why didn’t I feel strange doing it with her?)
Y si era la primera vez, ¿por qué parecía que era la sexta?
  (And if it was the first time, why did it seem to be the sixth one?)
Y si era la sexta vez, ¿por qué hubo preguntas después de la escena?
  (And if it was the sixth time, why were there questions after the scene?)

Y si fue la única vez, ¿por qué no puedo apartarla de mi cabeza?
  (And if it was the unique time, why cannot I take her out of my head?)

ER41FI08 97-17

Factor Integrante

Yo pensé (La sexta vez)

Karam

The current music scene is great because of the places where music is made and the experiments that are repeated by each personality. For individual creators, it is much more valuable to have an environment where they can come into contact with a large number of personalities than to be spread.